ferrum.wav

its kinda rare for me to wake up and immediately try to respond to a comment first thing in the morning, but here we are i disagree. i'd argue the empty spaces are there to let the music breathe, and i have considered of keeping the "movement" going in one way or the other, either by the piano playing scales, rapid lines, the syncopated triplets, arpeggiando on the strings, timpani rhythms, etc. also, i dont think every empty space has to be filled with motivic movement. does every piece has to have a melody "naked"? and i pretty sure have varied the harmony and texture. the first introduction to the full theme its literally just pizz. string and high register piano playing 6th broken up (which adds movement, by the way), the repeat of which (b.194) just removes the piano entirely, the first entrance of the second theme is played by cello only, with piano and pizz violin to accentuate the syncopated rhythm, the measures before that is another thinning of textures after a loud section, etc etc. i mean, i like it, so...oh well lol yeah, the themes are long and therefore had to be repeated. however, if i cut those repetitions the themes wouldnt be prominent. hell i did in fact cut the first theme in the repetition. most of the systems include 2-4 bars, with the exception of a few bars where there are few notes to play. i do not think crowding is an issue here. response: added references: and probably more. i couldnt find anything outside facebook discussions to be honest. HOWEVER, most of the chamber pieces including a piano that i've score read have the non-piano instruments be in smaller staves. response: also note, i'd rather have a seemingly impossible part and have to revise them after some feedbacks than not using the instruments to its fullest potential. part of why i fell in love with classical music is that you can get SO MUCH out of one singular instrument. the fact that composers have exploited many ways out of an instrument to serve their vision is so fascinating to me. maybe its innocent for me to think that way. of course, you have to consider the performer and the rehearsal, but, im gonna be real, i dont think this piece is ever gonna be performed. AND, if it was, or if i were to compose a piece that WILL be performed, then yes, i'll absolutely not go overboard and stuff, strip down the techniques, and be more lenient with them. this DOES NOT mean i do not think of idiomatic writing (refer to the my quoted response). also 6 bars of left hand open strings pizzicato played near the edge of the fingerboard is impossible? but, as all art are, it comes down to taste. so, fair enough thanks for the comments!!!

just incase i need to review my own piece for that heavyweight badge Melodies Themes Motives 0 Harmony Chords Textures 0 Form Development Structure Time 0 Originality Creativity 0 Score Presentation 0 Instrumentation Orchestration Playability 0 Execution of Given Challenge 0 Taste 0 Average Score: 0 this sucks never compose again

i'd say this piece does a good job at portraying a somber afternoon. the simple viola melody guides the piece straightforwardly while the accompaniment of the orchestra stills. the score is a bit confusing to read, i feel: random ottava lines, inverted beams of the notes.i also question the playability of some of the violins passages but overall, its not bad!! some of the contrasts work well and they're effective! good jobb Melodies Themes Motives 8 Harmony Chords Textures 3 Form Development Structure Time 5 Originality Creativity 3 Score Presentation 5 Instrumentation Orchestration Playability 4 Execution of Given Challenge 5 Taste 3 Average Score: 4.5

i do kinda hear the vision with the motifs, and it is recognizable. but thats kinda it ngl its a bit of (sry if its too mean lol) kinda fun to listen to though Melodies Themes Motives 3 Harmony Chords Textures 3 Form Development Structure Time 1 Originality Creativity 10 Score Presentation 1 Instrumentation Orchestration Playability 3 Execution of Given Challenge 1 Taste 3 Average Score: 3.12

this piece has that anger, yknow? thatof one losing a sheep and getting angry and sad, a cycle of grief. speaking of, it kinda represents the stages of grief, with the acceptance at the end. i imagine the contrast in this piece is like this shepherd, high in the mountain and he's mad to himself, alone, with nothing but his taragot. the different sections are distinguishable and the pacing is enjoyable. the contrasts between the sections are prominent and surprised me a bit sometimes lol. the theme and instrumentation certainly helps with this. its distinctive and full of characteristics. those low C string cello notes are powerfullll, same with the english horn and the high E string violin (again, effective contrast). absolutely using the instruments at their advantage me love chromaticsm porridge. the use of dissonance is very effective!!! the piece has a wide array of the dissonance range (soft to hard dissonances) and its usage is appropriate. i highkey like this piece Melodies Themes Motives 10 Harmony Chords Textures 10 Form Development Structure Time 10 Originality Creativity 8 Score Presentation 10 Instrumentation Orchestration Playability 10 Execution of Given Challenge 10 Taste 8 Average Score: 9.5

mmmh, warmth, the thing that one can feel, the snug and fuzzy and cozy feeling deep down inside, the senses you feel as you walk through fallen yellow leaves in autumn, maybe at start of a new chapter in one's life. i can definitely say for certain that this piece invokes exactly that. this style is simple and direct. it communicates effectively with the listeners about what it wants to express. unfortunately, as with @ComposaBoi , im not into this style very much. thats why im giving you low scores in originality and taste (sorryyyyy) the themes are presented clearly and the interplay between the instruments are balanced. the middle section kinda wanders a bit but the recognizable theme pulls it back. score is pretty clear, i do agree with @Henry Ng Tsz Kiu with the two repeated notes staccato instead of the tremolos. i guess you can do with the tremolos but instead of one staccato dot, its two. though i do prefer the first option. Melodies Themes Motives 10 Harmony Chords Textures 6 Form Development Structure Time 7 Originality Creativity 5 Score Presentation 9 Instrumentation Orchestration Playability 10 Execution of Given Challenge 10 Taste 4 Average Score: 7.75

this sounds very outgoing. it does sound like going on a hike on a big mountainous region. i imagined those accented chords in the beginning as one seeing the big trees and gets a little overwhelmed by them. loooooove the harmonic color in this, very distinct and pretty. the chaotic contrapuntalness of this reminds me of richard strauss a bit ngl lol the 16th notes flourish on b.5 and scattered throughout is a bit questionable. i have seen those figures before and heard that its awkward to play. the inclusion of flute amongst the string quartet is unique, but i do think is buried against the quartet sometimes with those low register notes clashing against the loud dynamic strings. moreover, as @Henry Ng Tsz Kiu have said, i do think it couldve had the spotlights in more sections. with contrasts, i do notice them! they're not very stark but appropriate for a ~5 mins piece. score is Melodies Themes Motives 8 Harmony Chords Textures 10 Form Development Structure Time 8 Originality Creativity 10 Score Presentation 9 Instrumentation Orchestration Playability 8.5 Execution of Given Challenge 10 Taste 9 Average Score: 9.0625 end note: when i accidentally point at the top of a mountain but im just describing this piece

i definitely can paint a landscape with this piece!! from the mechanical movements of the historical train to a stroll along a garden complex, it encapsulates the journey effectively. i like the depiction of the moving train itself using the tremolos and the wandering upward melody line. that upward melody line here signifies a "progress" i think? the B section is about taking a stroll through a garden complex and i notice it being used there but slowed down. the contrast between machines and nature is very clear: the mechanical dissonant of the old train and railway machinery is contrasted against the light wandering melody of the B section. the nightingale depiction with the trills is also neat. i wish the strings got a more prominent presence here!! theyre mainly used as a doubling with a piano and overshadowed by the two pianos imo. those low thirds on the cello (b8) might be difficult. its fun to read the score because how the programme is woven into it. i like reading what one passage is supposed to represent. and lastly, the story is just so simple yet warm. you take an old historical train in the evening to a garden and notice some nightingales, d'awwwww how cozy and nice i love itttt Melodies Themes Motives 8 Harmony Chords Textures 8 Form Development Structure Time 10 Originality Creativity 9 Score Presentation 8 Instrumentation Orchestration Playability 10 Execution of Given Challenge 10 Taste 8 Average Score: 8.9 end note: how i feel when describing the story

i like the usage of chinese instruments here. definitely unique and original. i will choose to not grade the playability since i do not know the intricacies. the score is definitely readable, but it lacks a lot of things (dynamics, articulation, etc.). the resulting look is very bare. i could not hear any memorable/distinct themes/subjects as they are not presented well. sure, there are contrapuntal lines, but they are just that, lines. without noticeable melodies to cling onto, the lines fall flat imo. one can probably notice upon further score inspection (or multiple listens), but i do have to consider the first couple of listening experience as well. furthermore, i couldnt associate the piece with the given pictures, other than it sounds chinese. the piece leans heavily into pentatonic, but there is also no clear harmonic direction. it feels aimless. good contrapuntal writing though! Melodies Themes Motives 2 Harmony Chords Textures 2 Form Development Structure Time 3 Originality Creativity 7 Score Presentation 4 Instrumentation Orchestration Playability N/A Execution of Given Challenge 3 Taste 2 Average Score: π (3.14, not the exact value of the pi decimal preceding it, but still lol)

definitely gives off a morning mood. i could associate the music with the given landscape. although when i heard the first bar, i immediately thought of skyrim music lmaoo love the high register bassoon usages here (and high oboe too). they pair well and support the aesthetics of the piece. i do agree with the other comments of switching to tenor clef when this happens. score is readable, a bit bare. the harp here is treated as an accompaniment, and i wish it interacted more with the other two! or played in the foreground alone as a contrast. also, in my opinion, i'd definitely consider adding harp harmonics and glissandos as well (tastefully, of course). speaking of contrasts, i do notice them and theyre definitely subtle. however, i think it could do more while keeping the mood steady. there aren't also a lot of dynamic varieties. the harmony is still, similar with the melody. although the range that youve used vary, theyre a bit aimless at times. some motifs stood up, but others are not memorable enough. i do think they still support the imagery. the structure feels free, and the memorable motifs keep it together. it matches the mood. looove the ending: repeating of figures, saving the chord at the very end. verdict: i feel content. nice jobbb Melodies Themes Motives 4 Harmony Chords Textures 5 Form Development Structure Time 7 Originality Creativity 6 Score Presentation 7 Instrumentation Orchestration Playability 10 Execution of Given Challenge 10 Taste 8 Average Score: 7.12 end note: me when its morning on whidbey island

im really fond of how experimental this is. the variety is wilddd and the inclusion of handmade instruments?? very creative. i quite like how blended the different percussion timbres are and they definitely provide unique textures. it's fun listening to the rambunctiousness of the different percussions as they come and go. unfortunately, as @UncleRed99 has pointed out in the rules, there should've been only 3-5 monophonic or polyphonic instruments present. HOWEVER, i am not even going to try to discourage you cus this piece is funnn to listen to. i notice that the themes have distinct characters. they clearly portray a set of vibes and imagery. i can imagine a landscape according to the story. the score couldve been presented better. its very small and reminds me of my score entry for the "bits and bangers" yc competition years ago lol although the middle section feels directionless, the return of the beginning theme and texture ties it up!! its also appropriate for the context of the piece. the story that youve provided is very whimsical and i thoroughly enjoyed reading it!!! its honestly nostalgic for me cus i used to play and wander with my childhood friends too when i was a child. not to the extent of forests and a colonial place per se, but it was definitely an adventure. goood job!!! Melodies Themes Motives 6 Harmony Chords Textures 8 Form Development Structure Time 7 Originality Creativity 10 Score Presentation 3 Instrumentation Orchestration Playability 10 Execution of Given Challenge 5 Taste 7 Average Score: 7 (how rounded) end note: handmade instruments

im not that well versed in renaissance writing style (and instruments), but it does certainly sound like it. however, i do find it difficult to associate with the given landscape. i also think its hard to do originality since you chose a distinct style and has to follow the rules in order to sound like said style. nevertheless, i quite like the harmony and melody. they sound playful, especially on the 3/2 section. Melodies Themes Motives 7 Harmony Chords Textures 8 Form Development Structure Time 10 Originality Creativity 6 Score Presentation 9 Instrumentation Orchestration Playability 9 Execution of Given Challenge 6 Taste 6 Average Score: 7.62 end note: renaissance good

alrightttttt time to respond to some of the comments @Kvothe @Wieland Handke @ComposaBoi @chopin @Luis Hernández i am very aware of the rule violation and i honestly dont care to be honest lol. ive already made peace with it. also, ive gone with the mindset of atleast i've finished a piece and not leave it unfinished like my other pieces. working on this piece was hard enough that im really proud to have enough determination to actually complete it. this is what i thought and heard as well during my researching process. i was listening to dohnanyi's sextet, which included horn, and horn could definitely project powerfully. furthermore, when executing loud dynamics, the virtual instrument that i've used aren't very capable to project strongly. i do acknowledge that. my method was to give the horn rests before and after the high register sections and make sure to only do loud dynamics. but mayyybe i might still have gone overboard with it lmao i'd love to hear more specifics about this tbh ive researched this many times and my conclusion is that it is the standard? maybe ive looked at the wrong discussions but the majority said that for chamber music, the staves besides the piano may be smaller to conserve space, which it did. but they also said that this applies to formatting for the piano part. soo i guess you could say that my score is the piano part. idk glad you hear those things that ive tried to portray! it was definitely the vision that i was trying to achieve and im satisfied you got those impressions. yesssss you noticed the whole tone scale scattered throughout! it was definitely cus of just, "water," but yes it definitely added a tone of mystery too. yes! there were fair few selections of artworks that i had to choose from, here are the two of them there shouldve been two or three more drawings but i didnt download it in time before it got wiped with the middle section, i had wanted a clear contrast between the dreary beginning and ending. so i sketched up a rhythmically active theme. as it evolved (with instrumentation and other embellishments), it turned into somewhat of a "pop-y" sound - catchy, syncopated and all - and i liked how it sounded. it definitely does sound like an adventure! form: b1-b38 = intro (contains fragments of Theme 1 (T1), specifically the first three 4 notes), i imagined this to be like the entrance appearance of the ship, the sound of a creaking old wooden ship b39-b84 = full intro and repetition of T1 (the dreary and mysterious theme) b85-b101 = a whole tone scale "storm," Theme 1 is pitted against Theme 2 motif b103-b155 = full intro and 2 repetitions of T2 (the bright and catchy theme) b156-b193 = a fugue section of T2 and T1 meant as a transition b194-b232 = T1, cut and altered b233-256 = coda, contains the final climax. the "misterioso" part meant to be a call back to the intro (b249 right hand piano arpeggio figure, b250 piano left hand the "atonal" figure) with T2 motif on the horn. definitely due to the massive piano chord arpeggios and the syncopated triplets lmao i think one of my principle of writing for instruments is to squeeze and extract as much as possible out of them. i could definitely see some issues with this but in my mind, i always think of playability, even in the brink of it lol. with the stops, most of them are 6ths, 8ths, open strings, the triple stops are in 6ths with the exception of including open strings, the quadruple stops always have open strings to them, and im aware of the difficulty of executing these in faster speed, the challenging registers (high for violin, low for cello), and the possible positions with each strings. the col legno are performed at open strings as well. i am honored lol i am GLAD and SATISFIED that everyone liked the presentation of the score. i worked soooo hard on it and it is definitely satisfying to see everyone like it thank you so much for everyone that has commented so far! i will definitely try to comment the other pieces. i meant to start early with that (and i did, with 1 piece lmao) but i always struggle to put my thoughts into words as they are very scattered in my mind.

my submissionnnnnnnn